NPS ton 10-900

For NPS UM only

United States Department of the InteriorNational Park Service

National Register of Historic Places Inventory Nomination Form dateemeredSee instructions in How to Complete National Register Forms Type ail entries complete -applicable sections________

1. Namehistoric Music Mountain

and or common Music Mountain

2. Location

street & number Music Mountain Road not for publication

city, town Canaan _£_ vicinity of Falls Village

state CT code 09 county L itch field code 005

3. ClassificationCategory Ownership

district public

X building(s) X private __ structure __ both

site Public Acquisition__ object __ in process

__ being considered XA

StatusX occupied

__ unoccupied __ work in progress Accessible

, :<: . yes: restricted __ yes: unrestricted

no

Present Useagriculture

__ commercial x educational X entertainment__ government __ industrial __ military

museum

__ park __ private residence

religious__ scientific __ transportation __ other:

4. Owner of Property

name Music Mountain, Inc., c/o Mr. Nicholas Gordon

street & number Keystone Broadcasting System, 250 West 57th Street

city, town New York N7L vicinity of state New York 10107

courthouse, registry of deeds, etc. Canaan Land Records, Town Clerk's Office

street & number Main Street

city, town alls Villaae state CT

6. Representation in Existing SurveysState Register of

title Historic Places has this property been determined eligible? yes x no

date 193 __ federal x state __ county __ local

depository for survey records Ccnnec-icut Historical Commission

::tv. :own state - -

7. Description

Conditionexcellent

X goodfair

< deteriorated ruins

unexposed

2heck onex unaltered

altered

Check one2?_ original site __ moved date

Describe the present and original (if known) physical appearance

Music Mountain, Inc., is a summer music institution devoted to the string quartet. It is located in a group of buildings constructed in 1930 at a rural site in the hills of northwestern Connecticut, four miles southeast of Falls Village in the Town of Canaan. The founder of Music Mountain, the first violinist in the quartet until his death in 1948, was Jacques Gordon, former concertinas ter of the Chicago Symphony Orchestra. The five Colonial Revival-style frame buildings were manufactured by Sears, Roebuck and Company.

Music Mountain, the topographic feature, with elevation of 1100 feet, and Music Mountain Road were so re-named upon purchase of the 124-acre site. The acreage runs south from the road to the boundary between the towns of Canaan and Cornwall. (See site plan.) The land had been a farm, and the farmhouse, c. 1880 (Photograph 1), still stands, now used as the year- round residence of the property superintendent. The five buildings con­ structed in 1930 are a concert hall (Photographs 2, 3), residence for the first violinist (Photographs 4, 5), and identical cottages for the other three members of the quartet (Photographs 6, 7, 8). They are laid out roughly in an arc around the farmhouse. (See site plan.) The overall effect is that of a campus. Entrance to the site is by a driveway cen­ trally located near the farmhouse. The drive curves to the left past a broad open green to the hall, and continues to the large house. The three cottages are positioned among the trees straight ahead from the farmhouse and to the right.

Gordon Hall is a 1-story gable-roofed 32 x 140' structure, facing west. The chief features of its long front elevation are two pedimented pavil­ ions supported by tall paired square attached columns. Each pavilion is entered by French doors and there are four French doors between them. The doors open into the auditorium seating about 400 people, which is finished in dark pine and has a rounded stage at the north under exposed roof framing. (Photograph 9) The north end of the building, behind the stage,is occupied by the Green Room (Photograph 10) 5 from which musicians enter upon the stage. The south end of the building is given over to offices and practice rooms.

The first violinist ! 's house is a 2-story twin-chimney 5-bay structure with ell and attached garage. The entrance, off center in the second bay from the right, is flanked by twin fluted pilasters that support plain architrave and frieze, dentil course, and shallow projecting pedi­ ment with cyma cornice and raking cornices. A stylized band of triglyphs runs under the eaves of the house and of the garage. Windows are 6-over-6.

The front door opens to a vestibule. A living room with beamed ceiling runs from the vestibule east to a fireplace. (Photograph 11) The dining room lies behind the vestibule to the right, opening to the kitchen in the ell,

7. Description

Conditionexcellent

X good__ fair

Check onedeteriorated x unalteredruins altered

__ unexposed

Check one2?_ original site __ moved date

Describe the present and original (if known) physical appearance

Music Mountain, Inc., is a summer music institution devoted to the string quartet. It is located in a group of buildings constructed in 1930 at a rural site in the hills of northwestern Connecticut, four miles southeast of Falls Village in the Town of Canaan. The founder of Music Mountain, the first violinist in the quartet until his death in 19^8, was Jacques Gordon, former concertmaster of the Chicago Symphony Orchestra. The five Colonial Revival-style frame buildings were manufactured by Sears, Roebuck and Company.

Music Mountain, the topographic feature, with elevation of 1100 feet, and Music Mountain Road were so re-named upon purchase of the 124-acre site. The acreage runs south from the road to the boundary between the towns of Canaan and Cornwall. (See site plan.) The land had been a farm, and the farmhouse, c. 1880 (Photograph 1), still stands, now used as the year- round residence of the property superintendent. The five buildings con­ structed in 1930 are a concert hall (Photographs 2, 3), residence for the first* violinist (Photographs 4, 5), and identical cottages for the other three members of the quartet (Photographs 6, 7, 8). They are laid out roughly in an arc around the farmhouse. (See site plan.) The overall effect is that of a campus. Entrance to the site is by a driveway cen­ trally located near the farmhouse. The drive curves to the left past a broad open green to the hall, and continues to the large house. The three cottages are positioned among the trees straight ahead from the farmhouse and to the right.

Gordon Hall is a 1-story gable-roofed 32 x 140' structure, facing west. The chief features of its long front elevation are two pedimented pavil­ ions supported by tall paired square attached columns. Each pavilion is entered by French doors and there are four French doors between them. The doors open into the auditorium seating about 400 people, which is finished in dark pine and has a rounded stage at the north under exposed roof framing. (Photograph 9) The north end of the building, behind the stage,is occupied by the Green Room (Photograph 10),from which musicians enter upon the stage. The south end of the building is given over to offices and practice rooms.

The first violinist'^ house is a 2-story twin-chimney 5-bay structure with ell and attached garage. The entrance, off center in the second bay from the right, is flanked by twin fluted pilasters that support plain architrave and frieze, dentil course, and shallow projecting pedi­ ment with cyma cornice and raking cornices. A stylized band of triglyphs runs under the eaves of the house and of the garage. Windows are 6-over-6.

The front door opens to a vestibule. A living room with beamed ceiling runs from the vestibule east to a fireplace. (Photograph 11) The dining room lies behind the vestibule to the right, opening to the kitchen in the ell,

NPS Form 1C-900-I (3-82)

United States Department of the InteriorNational Park Service

National Register of Historic Places Inventory Nomination FormMusic Mountain, Canaan, CT

Continuation sheet Description Item number 7

OMB .Vo . 1024-0018 Ex pi res 10-31-87

11111^11111

date entered

Page 1

which has breakfast area and door to the grounds at the rear. There is a bedroom off the kitchen. A stairway lighted by two windows rises in a double dogleg to the second floor behind the living room. The master bedroom is in the northeast corner (Photograph 12) with two additional bedrooms on the front of the house and another in the ell, for a total of five bedrooms.

The three identical cottages for second violinist, violist, and cellistare 1-story 36 x 36' squares in plan,with the ridge line of the front sectionparallel to the front elevation, and in the rear an ell at the right anda terrace at the left. On the front elevation a central doorway withshallow pilasters is flanked by paired 6-over-6 windows, while the secondfloor is lighted by three gable-roofed dormers. One chimney rises onthe left side elevation and a second at the beginning of the ell. Onthe interior, living room and dining room are to the left (Photograph 13),kitchen is in the center, and two bedrooms occupy the right side of thehouse. There are two more bedrooms on the second floor and an attic space.The roof framing may be observed in the attic space. (Photograph 14)

All the 1930 buildings have foundations of cast masonry units. The houses have partial basements in which are located coal-fired furnaces with steam heat distribution systems, now inoperable. In one cottage the furnace has been converted to oil-fired hot air. Floors are hard­ wood. Interior doors have single panels. Trim is flat with band moldings. On the first floor, spaces are connected by flat-arched or round-arched openings. Fireplaces have wooden mantels and are flanked by built-in shelves. Kitchens, closets, and bathrooms are all carefully planned both both for function and attractive details. The breakfast area in the first violinist's house is nicely detailed and pleasant. The platform in front of each front door is concrete colored red and scored to resemble pavers, and terraces are the same. All structures are covered with clapboards. Original cedar-shingle roofing has been covered with asphalt.

The complex consists of the six contributing buildings and three non- con­ tributing buildings less than 50 years old: garage, kiosk, and stand.

1. Because of the fine acoustics, the hall has been called "".he fifthinstrument of a string quartet." See David M. Schwartz, "When HomeSweet Home Was Just a Mailbox Away," Smithsonian 16 (November 1985): 98.

Significance

Period Areas of Significance Check and justify below_._ prehistoric _... archeology-prehistoric _ community planning _. landscape architecture _. religion__ 1400-1499 _archeology-historic__ 1500-1599 __ agriculture__ 1600-1699 J^.. architecture. _ 1700-1799 _ _ art__ 1800-1899 ._ commerceX 1900- _.communications

. _ conservation .__ economics

_. _ law __._ literature

education .._ military engineering _X_ music exploration/settlement __ philosophy industry __ politics/government invention

.__ science

..._ sculpture __ social/

humanitarian __ theater __ transportation __ other (specify)

Specific dates 1930 Builder/Architect John Carley/David S. Bectone

Statement of Significance (in one paragraph)

Music Mountain is significant architecturally because it is a unique ex­ ample of a well-designed community in the Colonial-Revival style produced by Sears, Roebuck & Company's pre-f abricated housing division. The insti­ tution was conceived and managed by Jacques Gordon, one of the great vio­ linists of the 20th century. It is significant in the history of music because it is and has been since its inception the only summer educational and concert institution devoted primarily to the string quartet.

Criterion C, Architecture

The architectural solution for the new summer musical institution in the Berk shire hills in 1930 < was provided by the pre-fab capability of Sears, Roebuck Company. The planning, design, and financial resources of the mail order con­ cern were brought to bear on the innovative proposal of Jacques Gordon with the result that five Colonial Revival-style buildings were produced to serve and strengthen his dedication to chamber music. The design and production of pre-f abricated Colonial Revival buildings for such a function was both withou precedent and highly successful.

The concert hall, large house, and three cottages of Music Mountain are a compatible group of structures that relate well to one another in their rural _ setting. The white clapboards, gable roofs, 6-over-6 windows, and classical details of the buildings, which are characteristic of the Colo­ nial Revival style, appear among the grass and trees of the landscape in the archtypical New England fashion. The modest mass and proportions ot the structures bespeak arrearlier era of small scale homes and public buildings.

The concert hall, as befits the largest building in the group, has the most impressive features, which are the two entrance pavilions with tall paired attached columns. The six French doors are not only an attractive architectural detail but also are a practical feature of merit in that

re ~entry at in termission time during a concert a simple

The first violinist's house has the traditional configuration of twin chimneys and five bays, but is unconventional because the doorway is off center to the right. The doorway itself, however, is a companion oiece to the concert hall pavilions with its flanking pilasters, dentil course, and pediment. The proportions of the roof-line freeze are atypical be­ cause tne triglyphs are stylized and the "metope" distance between them is wider than found in classical models. The floor plan of the house also is atypical. Instead of the traditional central hall and stairway 5? 1 ?! r°2mS syn^etrically disposed on either side, there is no central hall and over half of the width of the house is given over to a large

9. Major Bibliographical ReferencesSee continuation sheet.

10. Geographical DataAcreage of nominated property .~ . . Soutn Canaan Quadrangle name _______

UTM References /y-

B

Quadrangle scale 1:24000

Zone Easting

c \/ \g\ \L\rio\o\o\o k I3i*d^ifio

/ifNorthing Zone Easting Northing

i_i HI i rVerbal boundary description and justificationThe nominated property is described at Canaan Land Records, volume 33, page

24. . This is the former Dean farm on the former Barrack Mountain as pur­ chased in 1930.

List ail states and counties for properties overlapping state or county boundaries

state N.A code NA county NA code

state code NA county code

11. Form Prepared Byname/title____David F. Ransom y edited by John Herzan, National Register Coordinator

organization date April 30, 1987

street 4 number 33 Sunrise Hill Drive telephone 203 521-2518

city or town West Hartford state CT

12. State Historic Preservation Officer CertificationThe evaluated significance of this property within the state is:

__ national _2L state __ local

As the designated State Historic Preservation Officer for the National Historic Preservation Act of 1966 (Public Law 89- 665), I hereby nominate this property for inclusion in the National Register and certify that it has been evaluated according to the criteria and procedures set forth by the National Park Service.

State Historic Preservation Officer signature

title Director, Connecticut His

' ~S>

Conmission date December 2. 1987

For NW useontyI hereby certify that this property is included In the National Register

date (/ 7

date

NPS Form 10.900-.

Expires 10-31-87

•United States Department of the InteriorNational Park Service

National Register of Historic Places Inventory—Nomination FormMusic Mountain, Canaan, C T Continuation sheet_____Significance________Item number 8 Page 1

The three cottages do have the traditional central entrance with two windows on either side, but the windows are close together in a manner never found in colonial houses. The absence of a traditional central chimney also is noteworthy. The cottages have plain corner pilasters whose capitals are brief returns of the front cornice in the same arrange­ ment as found in the concert hall and the large house.

David S. Bectone is credited with designing the Music Mountain buildings. He was Chief Architect of the Sears operation by 1929 and continued with Sears until at least 1935. The initials on the drawings are BTL, presum­ ably those of B. T. Lourirn, an architect mentioned in 1931 Sears promo­ tional material. The relative importance of the design input of the Chief Architect and the draftsman is impossible to assess. It is also likely that Jacques Gordon contributed to the planning process. The buildings as constructed do not exactly conform to^the drawings (in the possession of Music Mountain) for reasons unknown.

The five buildings, prefabricated at Sears, Roebuck and Company's factory in Newark, New Jersey, were shipped to Falls Village on railroad cars, brought to the site, and erected by a local contractor, John Carley. Fach piece was numbered. Assembly proceeded according to instructions that came with the shipment. Photographs of construction in progress are in the possession of Music Mountain.

For the person who wished to build his own house,the fact that the lumber was pre-cut was important in an era when power tools were almost unknown. It was said that a small house that required 583 carpenter hours if constructed conventionally could be erected in 352 hours if the same house was a Sears product, -a substantial saving.5 Another factor important to many buyers was the general character and appearance of the models. Sears was not an innovator, but rather supplied houses that re­ flected general American tastes. The styles and designs they offered already were widely accepted.

The generous financing eventually contributed to the demise of the enter­ prise. With a one-quarter down payment, Sears would make a 15-year mortgage loan at 6% for the lot and house. In 1929, the year of greatest activity, sales reached $12,050,000, but one half of that amount was

NPS Form 10-900-a O-82) ,

United States Department of the InteriorNational Park Service

National Register of Historic Places Inventory—Nomination FormMusic Mountain, Canaan, CT

Continuation sheet Significance Item number

OMB No. 1024-0018 Expires 10-31-87

represented by mortgages. The Great Depression followed. Payments became delinquent. Foreclosure was the order of the day. By the mid- 1930s mortgage losses exceeded profits on the program from 1908 to that time. Of equal concern was the bad public relations image created for Sears by the foreclosures. The operation declined and was abandoned after the last catalog in 1940.6

In addition to selling standard models from its catalogs, Sears did a limited amount of custom work, such as a replica of Mount Vernon for the 1931 Paris World's Fair. The Music Mountain concert hall and first violinist's house were custom work. The three cottages were a custom design for Music Mountain in the first instance, but the design was adopted for regular selling and appeared in the catalogs for 1931, 1932, and 1933 under the name of "The Gordon." (See copy of catalog page attached.) Music Mountain was the only cultural institution designed and built by Sears, Roebuck and Company.

According to tradition,' Sears designers toured New England in search of inspiration for architecture suitable to the region before drawing plans for Music Mountain. The structures at Music Mountain reflect their observations. Prior to that time, most designs in the Sears catalogs were in the Queen Anne, Bungalow, American Four-Square, Tudor Revival, and vernacular styles, with an occasional Dutch Colonial Revival house. After 1930 several Colonial Revival designs in addition to "The Gordon" regularly appeared in the catalog, in confirmation that the Music Mountain commission introduced a new influence that had a permanent place in the Sears line.

Music History

Chamber music dates from the post-Baroque period in the history of music. Hayden was the first composer to write specifically for a small group, usually the string quartet. From its first concert in 1929, attended by three United States senators, Ethyl Barrymore, Zoe Akins, and Mrs. Elizabeth Sprague Coolidge, Music Mountain has continued a program of pertorming and teaching chamber music written by Hayden and his successors with three distinguished quartets-in-residence and renowned artists as -guests, including Harold Bauer, Georges Barrere, Helen Stanley, Olin Downes, Isidor Phillip, Alex Templetown, Benny Goodman, and Ruggiero Ricci, leading to the 59th season in 1988. Music Mountain surely is unique in New England and perhaps is the only institution in the United States devoted primarily to performance and instruction of chamber music, to the standards established by Jacques Gordon.

NPSForm 10-900-a OHB No _ 10 24-0018

°"8^1 Expires 10-31-87

United States Department of the InteriorNational Park Service

National Register of Historic Places Inventory—Nomination FormMusic Mountain, Canaan, CT

Continuation sheet Significance Item number 8 Page 3

Jacques Gordon (1899 - 1948), a child prodigy violinist, came to America in 1914 from Odessa, Russia, where he had studied at the Imperial Con­ servatory. He continued his studies under Franz Kneisel at the Institute of Musical Art, New York City, and at Blue Hill, Maine. Kneisel was concertmaster of the Boston Symphony Orchestra and an ardent advocate of the string quartet. Gordon played with the Russian Symphony Orchestra, became second violinist with the Berkshire String Quartet, and played at Roxy's Capitol Theater in New York before moving to the Midwest to become, at age 21, concertmaster of the Chicago Symphony Orchestra. In the same year, he organized the Gordon String Quartet. Gordon continued with the Chicago orchestra for eight years and during these years headed the violin department of the American Conservatory of Music in Chicago. In 1930 he resigned from the Chicago Symphony Orchestra to make the string cniartet his prime concern.

In his advocacy of the string quartet Gordon had the backing of a group of six prominent citizens of Chicago and other cities, one of whom was Julius Rosenwald, chairman of Sears, Roebuck and Company. Because of this relationship, Music Mountain got planned and built. The first con­ cert of the Gordon String Quartet at Music Mountain was held in Gordon Hall on August 22, 1930, featuring a program of works by Ravel, Beethoven, and Schumann. Other member? of the quartet were Edwin Ideler, second violinist, Joseph Vieland, violist, and Nahoum Benditzky, cellist.

As with so many of the houses they sold, Sears held the mortgage on.pro­ perty of the Gordon Musical Association at Music Mountain and, as with so many of their mortgages, payments in the early 1930s were in default. In 1932 Sears foreclosed the mortgage but continued to rent the premises for $2000 yearly. In 1937 champions of the music group raised modest capital and persuaded Sears to sell the land and buildings to the Music Mountain Corporation for $20,000. Initial investment had been on the order of $200,000. 8

During the 1930s and 1940s the members of the quartet taught each summer at Music Mountain, in addition to playing concerts. Guest performers and groups were invited from time to time. Gordon also became the first conductor of the Hartford Symphony Orchestra and headed the violin de­ partment at the Eastman School of Music in Rochester, New York. He received the Elizabeth Sprague Coolidge Medal for Distinguished Service in Music in the United states.

Toward the end of the 1940s Gordon's health began to fail, leading him to resign the leadership of the Gordon String Quartet. On the evening of September 15, 1948 he visited the home of Albert Spaulding in Great

NPS Form 10-900-« OMB No . 1024-0018

i^82 > Expires 10-31-87

United States Department of the InteriorNational Park Service

National Register of Historic Places Inventory—Nomination FormMusic Mountain, Canaan, CT Continuation sheet Significance_________Item number 8____________Page 4_____

Barrington, Massachusetts, where Fritz Kreisler and William Primrose also were guests. After an evening of informal music by the four great music­ ians, Gordon returned home, suffered another stroke, and died.

At this time Mrs. Elizabeth Sprague Coolidge, who had established the Berkshire String Quartet in 1916, suggested that the Gordon group continue as the Berkshire Quartet. Mrs. Coolidge was an early founder of a summer music program. Perhaps the earliest summer music event in New England was the choral program sponsored by the Worcester County Musical Associa­ tion starting in 1858 that was held in Mechanics Hall, Worcester, Massa­ chusetts, from 1864 to i t-s final year in 1933. The Bethlehem (Pennsyl­ vania) Bach Choir, started in 1900, was another choral program. From the beginning it was open to one and all on a ticket-purchase basis. The rtcekel summer music festival at Norfolk, Connecticut, combined both choral and orchestral events, but attendance was by invitation. The series concluded in 1922. The Norfolk facilities have resumed activity under the aegis of the Yale Summer School of Music.9 Another college- affiliated summer music festival, founded in 1951 and primarily devoted to chamber music, is the Marlboro Music School at Marlboro College, Marlboro, Vermont, Rudolph Serkin, director.

In 1918 the Berkshire String Quartet began performances in a white frame structure provided by Mrs. Coolidge called the Temple of Music at South Mountain, Massachusetts, near Pittsfield. The event, known as the Berk­ shire Festival of Chamber Music, was not held every summer and the members of the quartet changed from time to time. Nearby a more ambitious per­ manent summer music series took shape in 1938 with the building of the Music Shed in Tanglewood as the summer home of the Boston Symphony Orchestra. The summer seasons at Tanglewood have continued successfully over the years.' Other summer-music events, as distinguished from full seasons, in New England have included the Rockport Festival in Maine and the Monadnock Music Festival in New Hampshire.

At the time "The Fairy Godmother of Chamber Music," as Mrs. Coolidge was fondly called, suggested transfer of the Berkshire name to Music Mountain, the other members of the Gordon group were Urico Rossi, second violinist, David Dawson, violist, and Fritz Magg, cellist. The quartet played together at Music Mountain and at the Indiana University School of Music where they were quartet-in-residence. From 1965 Rossi and Magg ap­ peared each season with several different partners through 1980, including the 5Jth continuous concert series in 1979. In 1981 the Manhattan String Quartet, taking its name from the Manhattan School of Music with which it is affiliated, became the third string-quartet-in-residence at Music Mountai

CV-fB Vo. 1024-0018 Expires 10-31-8?

United States Department of the InteriorNational Park Service For NPS u$o only

National Register of Historic PlacesI n v e n t o r y — N o in i n a t i o n Form dol° 0rltcrod 1

iS'Vi 1 ' :. :.-••• "•:'.•• •-:•• • : ..;::: : .x:: : :V'': :V ::•: .:V : '';:.':. : : :;.;::.i.;ij;x,lusic Mountain, Canaan, CTContinuation sheet Significance ________ Item number _______ 8 _________ Page ____ 5 ____

The Norfolk Music Shed (1904, Erick C. Rossiter) uses a similar scheme for easy exit and re-entry.

2 Katherine Cole Stevenson and H. Ward Jandl, Houses by Mail (Washington:The Preservation Press, 1986), p. 35.

A Connecticut architect also was associated with the Sears work. He was Merrill Clement, Jr., of South Norwalk.

4 Sears, Roebuck & Company's first catalog of houses was issued in 1908and the last in 1940. About 100,000 houses, ranging from mansions to bunga­ lows, were produced during that interval. The great popularity of the product was due to a number of factors, including good quality, reasonable price (usually in the range of $650/%2500, a wide variety of styles, shapes, and materials (450 different models were offered over the years), and attrac­ tive financing. "The price included all materials and supplies, except plumbing, heating, wiring, and the kitchen sink. These were extra. No masonry was included.

Stevenson, op cit . , p. 30.

Sears was the largest but not the only firm in the business. Alladin Homes of Bay City, Michigan, was the first, starting in 1906, and contin­ ued the longest, to 1983. Alladin Homes are found in northwestern Connec­ ticut. For example, the seven houses that line Marne Park Road in Bantam, Town of Litchfield, are Alladin houses.

Interview with Nicholas Gordon, son of Jacques Gordon and president of Music Mountain, Inc., April 14, 1987.

o"Jacques Gordon Establishes Music Center at Falls Village," The Lure

of the Litchfield Hills 2 (September 1930) : 32.

g Carl Stoeckel's father taught music at Yale, where he met Ellen Battell

of Norfolk. Her family gave the Battell Chapel to Yale. Ellen Battell Stoeckel survived her husband. It is under the terms of her wi,ll that the Yale Summer School occupies the Battell/Stoeckel estate in Norfolk, including the Rossiter Music Shed. Current performances are open to the public on a ticket-purchase basis.

NPS Form 10-900-a (3-82)

United States Department of the InteriorNational Park Service

National Register of Historic Places Inventory—Nomination FormMusic Mountain, Canaan, CT Continuation sheet Bibliography Item number

0MB Vo . 1024-0018 Expires 10-31-87

11sm

iliiiiiiillliii

W$iii$iiiij$$i£1 I

?:*

S-Ss

|:| j::ji:

¥i¥-K?5:3i

Page

Bibliography

Fisher, William Arms. Music Festivals in the United States» Boston: American Choral and Festival Alliance, Inc., 1934.

Gordon, Jacques. New York Times. Obituary. 16 September 1948, 29:3.

Gordon, Nicholas. President, Music Mountain, Inc. Interview. 14 April 1987.

"Jacques Gordon Establishes Music Center at Falls Village." The Lure of the Litchfield Hills 2 (September 1930): p. 9 ff.

Howe , M. A. de Wolfe. The Tale of Tanglewood. New York: The Vanguard Press, 1946.

Music Mountain Chamber Music Festival programs, 1981, 1986.

Plans, elevations, photographs of construction in progress. Music Mountain, Inc.

Schwartz, David M. "When Home Sweet Home Was Just a Mailbox Away," Smithsonian 16 (November 1985): 90-101.

Sellars, James. "Summer Hits a High Note," The Hartford Courant, 17 June 1979, Magazine, pp. 2-6

Stevenson, Katherine Cole, and Jandl , H. Ward. Houses by Mail. Washington: The Preservation Press, 1986.

Rabin, Carol P. A Guide to Music Festivals in America. Stockbridge, Massachusetts: Berkshire Traveller Press, 1979.

THE CORDON(The simple dignity and _/ beauty of colonial archi­

tecture found many expressions, one of the most interesting being iht1 Cape Cod colonial, exempli­ fied in the Gordon. Many of these sturdv houses still standing in New tndand are objects of pilgrimage to those who appreciate and love beautiful homes. Although face brick is often used for the chimney, good effect is obtained by using common brick whitewashed.

Details and features: Five or seven rooms and hvo baths. Side brick chimney: pilasters flanking front door; three gabled dormers. Optional second floor: fireplace in living room.

Years and cataJog numbers: 1931 (3356): 1932 (3356): 1933 (3356)

['rice: No price given

THE ATTLEBORO

his type of Cape Cod home is one of the first designs built by the early New England settlers. Homes built over a hundred years ago grow old gracefully and still retain a

certain warmth and beauty. It seems to have many friends in both urban and suburban «in.-as. The Attleboro achieves distinction with its fine doorway, dormers, shuttered win­ dows and correct architectural details. No "gingerbread" to get out of date. Outside walls «"*. shown of cedar shingles but will look equally attractive with siding.

features: Six rooms and one and a half baths. Side porch with paired columns: S| -vpaiiel front door with transoms. Fireplace in living room: semiopen stairs.

and catalog numbers: 1933 (3384); 1934 (3384): 1935 (3384): 1937 (3384):

: $1.8 10 to $2,197

49

.Katherine Cole Stevenson and H. Ward Jandl, Houses by Mail (Washington: The Preservation Press, 1986), p. 149.

aJ>^5

f»<-

A-'

&

533.

74-

A u.^

i. ->

:.<-•

'/

8

^

56 A

c.

4-. 5

\

\\

27

30.5

1 A

c.

28

61 A

c.

Music Mountain

Canaan, CT

Scale: i" =

450

f

Photo key -

Nr\

U

p

HNJ

I>4

A/

fY1

1 L.L.